By Selmer Bringsjord
Is human creativity a wall that AI can by no means scale? many of us are satisfied to confess that specialists in lots of domain names will be matched by way of both knowledge-based or sub-symbolic platforms, yet even a few AI researchers harbor the desire that after it involves feats of sheer brilliance, brain over laptop is an unalterable truth. during this booklet, the authors push AI towards a time whilst machines can autonomously write not only humdrum tales of the kind obvious for years in AI, yet nice fiction regarded as the province of human genius. It studies on 5 years of attempt dedicated to development a narrative generator--the BRUTUS.1 approach. This ebook was once written for 3 basic purposes. the 1st theoretical reason behind making an investment time, funds, and ability within the quest for a very artistic laptop is to paintings towards a solution to the query of no matter if we ourselves are machines. the second one theoretical cause is to silence those that think that good judgment is perpetually closed off from the emotional international of creativity. the sensible motive for this undertaking, and the 3rd cause, is that machines capable of paintings along people in arenas calling for creativity could have incalculable worthy.
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Extra resources for Artificial intelligence and literary creativity: inside the mind of BRUTUS, a storytelling machine
17 But we have digressed; the real point under discussion is the issue of definition. What sorts of definition does Torrance offer? He offers two; here, first, is his “research definition”: [Creative thinking] is the process of sensing difficulties, problems, gaps in information, missing elements, something askew; making guesses and formulating hypotheses about these deficiencies; evaluating and testing these guesses and hypotheses; possibly revising and retesting them; and finally communicating the results.
How can our robotic sleuth communicate an answer? One thing that would surely fail to inform would be for SHER-COG to invite humans to examine its neural nets. In order to see this, you have only to imagine what it would be like to study these nets in action. How would information about the states of nodes and the weights on connections between them help you divine how SHER-COG deduced that the culprit in this mystery could not be a stranger to dogs on the farm that was Silver Blaze's home? The reasoning Watson strives to apprehend can be gleaned from neural nets about as easily as the bump-and-prong engineer can read Tchaikovsky's secret off the drum of a music box.
6), and she decomposes Lovelace's attack into four questions: Q1 Can computational ideas help us understand how human creativity is possible? Q2 Could computers (now or in the future) ever do things which at least appear to be creative? Q3 Could a computer ever appear to recognize creativity? Q4 Could computers themselves ever really be creative? Boden's answers to these questions, and her defense of those answers, constitute her book. Her answers are not ours. 1: Bringsjord/Ferrucci versus Boden on Creativity.
Artificial intelligence and literary creativity: inside the mind of BRUTUS, a storytelling machine by Selmer Bringsjord
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